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ADVANCED PORTRAIT PAINTING

Updated May 11, 2016

A conversation between John and Mac

M: Advanced Portrait Painting Through Universal Line? You talked about line as the first dimension of control inpainting but never universal line. What’s up with that?

J: I have a painting adventure to take you on that will be more far reaching than you ever imagined.You know when you’re asleep at night and dreaming? You’re all alone within yourself and you imagine all kinds ofconditions, people and, events. The dream seems to go by itself, but of course there is no one besides you layingthere, so that in reality, you’re telling yourself a story about things seeming to be real. Let’s say you’re dreamingabout painting a stunning portrait, although, of course, it could be accomplishing anything.

M: Okay, when I dream, I’m all alone in a private world telling myself a story of how things work. There have beentimes when I know I’m dreaming, but almost all the time I forget and fool myself into believing it’s real.

J: Whatever happens in your dream-world, as far as you’re concerned, tells you how the universe works. It’s theway life is according to your story-line. Let’s take five possible story-lines as they could relate to progress inpainting. Here, the only limitation is your dream imagination.

1. You know exactly how to paint so that everything goes smooth and effortless.2. You get ideas or have visions of how the portrait could look beyond your wildest expectations, and then find that you have the skill to easily paint it.3. You always see the finished painting in front of you and you just fill in the colors for others to be able to see.4. You feel like your hand is being guided while you paint, so that painting happens spontaneously and magically.5. The finished painting physically instantly-permanently materializes out of thin air in front of you as if by an invisible magic hand. The painting is produced without human hands.

Have you ever had dreams like 3 through 5?

M: No, my imagination has never been that far-out. However, I once dreamed I did real magic tricks afterwatching a movie about it before going to sleep.

J: You can imagine all kinds of far-out things within the dream experience and believe them to be real becauseyou’re unaware that it’s only a dream going on. There you are, all alone, defining how your universe works whichcan include any real magic or any supernatural event.

J: What if I was to tell you that right now, here, you’re all alone, there is no one else besides you as the solecommander of the universe, and all this is your private dream. You make all the rules of how the universe worksbecause there is no other authorship besides you. Your intension is the starting point of everything including allthe vast complexities that seem to be way beyond your human mind to comprehend. Absolutely everything you 2 do – the entire universe, comes forward instantly as supernatural magic following your mere intension. You are the totality of the universe.

M: I’d say that you’ve been inhaling vapors

from your paint supplies. (smile) But something tells me that you’re going to attempt to prove it to me. Is that what you meant by more far-reaching than I could ever expect?

J: I’m going to show you what to look for, so that you can determine it for yourself – so that you have your own conviction and don’t have to believe what I’ve said just because I said it. I’m going to tell you how and why you are everything – totality, without depending on schools of philosophy, without science –just examining simple mechanical facts. Then I’m going to have you use it to paint portraits.

M: Okay where do we go from here?

J: I’ll put what I’m going to tell you in a book called Advanced Portrait Painting Through Universal Line. I’ll make itmore fun with lots of illustrations. You can come back to and review any time you like. It will be a study manual forongoing familiarity, which ultimately becomes a deep realization of practical, workable results. You’ll come backrepeatedly to hear it say things you didn’t hear before. Points too abstract to grasp will take on practical utility.New experiences in your life will draw more from the text and you’ll look at the same words in a new light. If youhave any questions later, you can click on the email link at the top of my text and I’ll get back to you. I recommendthat you slow down, think, and go over it continually until you master understanding of the material. For some, thematerial may seem over their head, but if they lightly follow it to the end, it should fill itself in.

To proceed, I must first take you through logic-based steps to understand the first and most simple law of youruniverse – the most simple fact anyone could know. You’ll then build detail on top of that like building a house ona solid foundation. The First Law will provide the basis of who you are, where you’re going, and why you can takefull conscious control of your real dream. At each step, you’ll be able to trace your journey back to, and have itconfirmed by, the simplest fact you could ever know. Even though this journey will touch on metaphysics,metaphysical attributes will be illustrated in simple mechanical ways so that you’re feet remain on solid ground.

So on with who you are. You’re the sole commander of the universe – you sitting right there. You’re making all therules or laws of the universe. What you decide is the reason for everything in the universe happening right now.You’re all alone and there’s no one else besides you. It’s all a private dream which is expanding self-awareness, adream which pretends to be a multifaceted universe. If this statement is true, you have to be playing an incrediblehide-and-seek forgetting game that you’re having your universe play back on you. It’s a game which makes youseem like only an ant in the scheme of things. There is only you, and then there is forgetting you.

You make your dreams come true by your supernatural power. You build your life to order. I’ll explain how you’reusing the full you, your ONE all-person state right now as much as you ever will, yet you’re now unknowinglyusing it against yourself to provide yourself with all the living proof you could want that such mastery is onlynonsense. I’ll show you how to reverse this with the simplest, most comfortable thing you could do and not bytrying to remove obstacles or by exerting yourself in any way.

M: But what about everyone else? How can I be sole commander if they exist, say, like my neighbor?

J: Remember, in your dream at night, other people have to seem to be real or else you wouldn’t believe thedream. Your question demonstrates forgetting that you’re dreaming right now. It’s as simple as that. 3M: You’re saying that only I am real and all other people are not? What if you told this to my portrait painter friendBob? Wouldn’t he learn to take control of his private dream which includes an unreal Mac?

J: I’ll show you how there is only ONE person who is the universe, which means that he does all, sees all, andknows all everywhere, so that everyone is that person. Everyone owns all of that person because as he isindivisible, so that everyone is all of it. Owning all of that person, they all own the private dream. Because there isonly ONE person, everyone is correlated at the fountainhead of that dream with perfect order and with no conflictbetween all its seeming innumerable dreams – unless he chooses to dream-imagine a seeming illusory conflict.You are that fountainhead. You are the source that makes Bob seem to be able to privately own and run theuniverse simultaneously. I said that you’re all alone because your are that ONE lone person.

M: Heavy. Okay, let’s say Bob and I enter a contest to win a prize for our portrait paintings. We both know we’reONE person in our private dream. Who wins the prize?

J: Again, your question demonstrates forgetting that you’re dreaming. You wouldn't talk that way if you knew youwere dreaming all alone, because you’d know the dream is going to go the way you direct it. That’s what I meantby the illusory conflict. Simple, simple, simple, yes?

M: So I’m not a co-creator with Bob or anyone else.

J: You’re all alone – no one else besides you. Co-creatorship requires you to act on a localized view of theuniverse for Bob to be a seeming reality. I’ll have you carefully examine that later.

M: But then Mac is a dream too, so he’s not any more real than Bob?

J: From the point of view of your ONE all-

person state, yes. Yet because Mac owns all of it, even though we could say Mac is only ONE all-person’s dream, we’re going to have Mac organize his life (what makes you a Mac and not a Bob) directly from your ONE all-person state. You do that by knowing you are that person. Right now you don’t know it because you haven't had an opportunity to see what to look for to confirm it for yourself.

M: I was about to ask, that if with all that

power, couldn’t I abuse it to harm another. But if I’m all alone consciously dreaming, I wouldn't have any reason todream an enemy, dream power abuse, nor create an obstacle to overcome. I’d only be harming myself orshooting myself in the foot. All right then, on we go to let you convince me all this is true.

J: I’ve organized the information as My First Five Laws Of The Universe. Also, to help you get the message, fromnow on I’m going to speak in first person as the ONE person who is and does the universe and speak to you asmy imagined real dream.

M: But what do you mean by universal line?

J: I’ll define the universe as various rates of vibration. Line bends to make a wave, a vibration, so that line is theuniversal basis of wave – or everything in the universe. Line is like the ocean that creates waves which come andgo. I will get into that in great detail with the purpose of performing painting from the very source of the universe.

Here are the contents of Advanced Portrait Painting Through Universal Line as five chapters: 4 My First Law Of Universal Line I as ONE total thing never stop being ONE total thing, even when I become individual variations.

My Second Law Of Universal Line

I as ONE-thing express myself as a ONE all-person variation and I never stop being that individual, even when I become various beings.

My Third Law Of Universal Line

In my completeness, I as ONE all-person have no place to expand, so through reduced perception, I pretend to stop being myself and conclude-experience myself as isolated recipients of variations.

My Fourth Law Of Universal Line

As isolated recipients, I seek events to know who I am, what will happen, and what I can do. With that, I use my ONE all-mind to seemingly prove whatever I find. The adventure begins.

My Fifth Law Of Universal Line

A time comes to discover my hide-and-seek game and re-establish my identity. Even without the perception of ONE all-person, I use my ONE-thing state to act as if I werenot missing. I go ahead to command my universe from my ONE-thing state. Perception, experience, and events then flow fondly. Eventually I know and do everything again.

My First Law Of Universal Line

I as ONE total thing never stop being ONE total thing, even when I become individual variations.

M: ONE thing. Is that what you meant by the simplest thing I could ever know?

J: Yes. I and my universe are ONE thing. When I use the word universe, I want you to be clear what I mean.Have you ever given consideration to the word universe?

M: Just that it’s so big that I could never know what it is.

J: There’s uni and verse. Uni as in unicorn, unicycle, uniform, and unison. It means one. Verse as in a poem, aversion of something, like a current computer operating system. It identifies a part of something or a changingstate. Have you ever opened up a carton of spoiled milk? You smell it and say, “Whoa, that sure turned.” The root 5meaning of verse simply means to turn. When the sun passes through the sky, the day turns, the seasons turn.When you’re happy with your life, you say it turns out well.

Universe suggest that ONE-thing turns – that all changes and parts belong to ONE-thing. It suggests that ONE-thing never stops being ONE-thing even when it becomes variations. We’ll see how important it is to know thatONE-thing creates your life even when your life seems only to do with a lot of parts working together.

Let’s look at variations from the point of view of wave vibration. I

put on a test tone. This is a tone of fifty cycles per second. The audio speaker cone moves in, out, then back to its rest state a total of fifty times each second. You can’t hear the sound unless the cone starts from and comes back to its rest state. Whatever the complexity of wave forms, they all must refer back to one common denominator, which is a “flat zero” state, or a state without a rate of vibration. Uni is the common denominator – the speaker frame, verse is the movement of the cone. A light source vibrates at 470 billion times a second and you see blue. The matter of solid rock vibrates at X to the X power and you can pick up a seemingly solid object. Wave vibrates even higher and you have a thought vibration about picking up a rock. Still higher, your intellect moves thoughts around. Still higher, your sense of identity vibration perceives a consistent underlying “you”who is the experiencer in the midst of all other vibrations that come and go: “I Am.” A certain wavelength spanoccurs and a year is defined. The space between the sun and earth is defined by a wave that same length. Timeand space are simply rates of vibration like any other attributes of the universe. I’m not relying on science to verifywhat I’m saying, but if you want another source, quantum physics can provide details.

A good analogy is the ocean

and its waves. It’s an analogy everyone can easily identify with. The ocean is one thing. The waves are the ocean, so that the waves are also that ONE ocean.

Here is a bowl of water as an analogy of my ONE complete field

– the universe reverberating within itself as waves. With this bowl filled with water, I slowly rock it back and forth and watch the variety of waves. The waves bounce back and forth and they collide with each other, which yet causes smaller waves. The waves even sometimes cancel each other out. The patterns are unique and endless. Yet it’s one solid body of water, from which no amount is added or removed in order for it to undergo internal change. This helps us see the big picture of how I as everything are ONE vibrating thing. Just like the still silent ocean and waves, waves come up out from the bowl and then return to it. 6

This is me as my universal flat-line state. It’s a state of

M: You say “me” but there’s nothing there.

J: Everything is there in a potential state which I’ll talk

about more later. There are two “me’s”; a still state,and an active vibrating dream universe as seen inthese two models.

Here is a transparent sphere as a symbol for me as

one thing – the uni of verse. I use it because the linethat defines its outer shape is one endless turn. Itslack of features renders it transparent. 7

Here you are and your painting vibrating as

waves from the silent flat zero state represented by the audio speaker. It’s the same as the ONE common flat still field that everything has in common, or me in my silent state, which I represented by the transparent sphere.

This is my silent state – my still state. It’s a virtual state. I don’t mean virtual in the sense of artificial or make-believe. I mean “hasn’t yet become.” I possess the virtue of wave, which means that I, the “possessor” myself,remain flat prior to wave – universal prior to wave. You saw this clearly represented in the speaker cone, so youhave an example of my nature in the world. All potential vibration is contained in universal line because it’s thesource of wave. Whatever portrait you could paint a year from now, whatever you’ll be doing in the future, Isilently own each and every one of those potential vibrations always already right now. I say always already rightnow because time-space is one of those vibrations I’m the source of.You can see that if my state was not universal line, I’d be just another one of those things out there waving aswave, and not the common denominator itself.

The concept of a non-vibration state which is virtual and from which all vibration arises is the most abstractconcept imaginable. How could something which has no attributes and no vibration, contain all attributes and allvibrations? It’s a mind-stretcher. That you can conceive of such a metaphysical non-wave state and the simplemechanical sense behind it will suffice for the use of it. Perception of it isn’t necessary for its use. In fact,perception of it doesn’t happen because it is the experiencer, the experience, and the object of experience allrolled into one universal attribute-less state.

M: But in a way, this universal line does have attributes. It’s indivisible, non-dimensional, timeless, spaceless, all-pervasive, and the fountainhead of all variations.

J: Very good observation. Those attributes you mentioned are non-variation attributes, beyond wave and beyondthe field of perception. Usually attributes are a way of describing variations. Now we’re going to discuss thevariation or the vibration of ONE all-person.

My Second Law Of Universal Line

I as ONE-thing express myself as a ONE all-person variation and I never stop being that individual, even when I become various beings. 8M: You say that I’m a ONE all-person variation of line with ONE big all-dream. I see line bending-vibrating tomake all these individuals and things in the universe, but why does it – I – remain ONE all-individual while Ibecome many, like ONE all-dream? Why don’t I as line just go right to a lot of individuals? – and as soon as I dothat, I am just one of many isolated individuals dreaming little dreams so that there is no ONE all-person.

J: You’ve seen people speak into a microphone and say,

“Testing one two three four.” Say that now into this microphone I’m handing you.

M: “Testing one two three four.”

J: Who just spoke?

M: I just spoke.

J: Didn’t universal line just speak? It just bent to speak,

didn’t it?

M: All right, ONE line just bent and spoke bending into my Mac vibration.

J: How many possible lines are there to bend and speak?

In other words, how many bender’s of wave are there?

M: Only one, because it’s all-pervasive and indivisible. The

ocean spoke even if it seemed only a wave. Any second line would be a variation and variations only happen as wave. Okay but that means that line becomes a rock too, but a rock is not speaking and controlling everything as ONE all- person.

J: It means that a rock owns the whole of the universe. In

your dream, rocks don’t speak nor organize the whole of the universe, but that’s only Mac’s imagined separate dream. They do in others’ imagined separate dreams.

M: Wait, are you saying that ONE all-person state exists onlybecause I dream him, and if I don’t dream him, he doesn’t exist?

J: Only if by “I” you mean yourself as universal line. If by “I” you mean how you normally perceive and defineyourself as Mac, then no. ONE all-person is Mac’s source, not the other way around.

What I’m saying is that because Mac is universal line, all of wave belongs to Mac. Mac carries the entire universearound with him as a full Mac. Mac is therefore an all-of-it person if he exist as a person at all.Another way of saying it is that wave expresses WHO the bender is, and there’s only ONE bender: in-separatefrom Mac. Wave is the bender. Simple. ONE-thing just spoke as a who or as a Mac, and because wave neverstops being ONE all-line, that makes Mac ONE all-person. No matter how localized the wave becomes in itsmultiple aspects, ONE line is still fully in charge and fully present. That holds Mac singular as ONE all-person. AllMac can do contrary to it is imagine he’s not that. It’s so simple that only talking about it seems to make itcomplicated.

M: I think I get what you’re saying but it’s very abstract. I’ll have to take time to carefully consider it. I’ll consider,“Wave expresses WHO the bender is, and there’s only ONE bender: full Mac.”

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J: Let’s look at some mechanics of the

universe. At the deepest level of the ocean it’s still, quiet, and dark. As you go higher towards the surface, there is more activity. Finally at the surface there are crashing waves. We could say that there are many levels or layers of vibration from higher to lower – from finer to grosser – the grossest being on the very surface.

That analogy has its limitations. In the

illustration to the left, higher vibrations form and permeate lower vibrations. When you take your cell phone with you anywhere in your house, a signal is always received, even if the phone is behind a wall, under a couch, and so on. The signal’s high rate of vibration (radio frequency) permeates the walls. Higher vibration is always the authorship of lower because it can get to lower.

In this illustration, you see a higher

vibration wave putting out multiple beings, here as fish in the sea. Remember your cellphone signal vibration and all the cell phones picking it up. All these fish have a central authorship in their midst because they have fish-ness in common. You asked, “Why don’t I as line just go right to a lot of individuals? – and as soon as I do that, I am just one of many others dreaming little dreams, so that there is no ONE all-person.” My question to you is, “What is the wave that holds all these fish waves as separate and going about their own ways? It has tobe a bender of wave, a collective localized bender of wave that is putting out only fish. Localized means it’s notputting out seaweed or anything else, only fish. It not only remains line like line does with everything else, but it’sa higher vibration that organizes the divisions and activities of fish right in their midst. If there are multipleindividualized vibrations (like fish), there has to be a higher but still somewhat localized authorship thatspecializes in organizing those unique divisions and activities. A somewhat localized authorship that specializes iswhat I call a person. Why? It has a person-ality different from other local bender-organizers.

The structure of the localized over-wave looks like this to the left. His personage is the bell-curve and his personality are the waves on that curve.

Let’s continue to trace back vibrations to less and less localized until we get to the highest and therefore a final person-ality. 10

All the oceans on earth have a localized

organizing vibration that holds them separate and going about their own ways. Here an authorship of the sea is painted with forms which humans can identify with. He is called the god of the sea. Look how he’s holding a sphere as I showed you, as if he knows from where he came.

All the planets have a localized organizer for them too.

Here, John Singer Sargent painted my deity of planets.

Go out further to our solar system, stars, galaxies, and

so on. The final highest vibration will be a central all- inclusive over-organizer just before flat non-wave universal line. It’s all very simple but you have to open yourself to meta-physics because these person-ality vibrations are not physical material like the fish or the stars. Meta means I am beyond my creation.

If you have eyes, there are less localized over-eyes. If

you have a “me”-sense, there’s a less localized over-“me”-sense. If you’re a person, there is a meta- physical ONE all-person in your midst. Every major civilization has had advanced individuals who glimpsed various metaphysical levels with their higher vibration eyes. “Then I saw the seven angels who stand before God, and seven trumpets were given to them.”

M: Okay, now the only thing still hanging me up is that line is no-thing, no attribute, so how can it speak, and thuswave itself as ONE all-person?

J: Because line is pure intelligence. I’m not saying it’s intelligent. Intelligent requires a form. All these wavesbecome extremely complex and purposeful. Portrait painting is very complex and you do it on purpose. Wavesexpress intelligence. The bender is intelligence, the wave is intelligent. The first thing I as pure intelligence do, thefirst thing I do out of my quiet virtual state when I vibrate, is become conscious of myself. I am then conscious-ness. With that, I am “I am-ness.” You have a sense of identity and say, “I am.” You also say, “I am intelligent.”That’s me, line, bending as wave. Remember that I said there are two “me’s”: a silent state which is a virtual state,and an active vibrating dream universe. With that, “I am” proceeds to “Now I become…”

M: Yes, but I’m still little limited Mac. Where are my ONE all-person attributes that are as wide-ranging as thewhole universe? What good does it do me to know about them if I’m still a little limited Mac and don’t experiencethem?

J: Your perception is the basis of the evaluation that you’re still a little limited Mac.

I’m going to show you that perception doesn’t change the structural reality of your ONEall-person presence. Not only that, but reduced perception need not stop you from 11using that presence and putting it to work to paint an instant magical painting like I as ONE all-person do.

I’m going to have you act on mechanical facts that underly your perception’s conclusion. You’ll act on them because you know why your perception alone is not a valid basis to act on.

See this illustration to the left?

You’re going to know that the line that bends to make Mac is the very same line that makes ONE all-person. You’re going to skip over all the localized over- organizers and claim your original highest authorship as line. There you will command your universe as I do. You can do that because through universal line, you already are me.

M: Now let me think how it helps me to do a painting better when I know I’m my ONE all-person form.

J: Three words: Complete authorship integrity. Authorship integrity means that you express perfect choice andsufficient supply. Because you are alone as ONE all-person, fully in charge of your universe, seeing and knowingeverything, not missing anything, you embody perfect choice. If your intention is the starting point of everythingthat happens, like a dream, then you embody sufficient supply. That means that there are boundless possibilitieswhen you go to paint a portrait. It’s your imagined dream-world. With this new self-knowledge, your changedimagination changes your world by consciously directing perfect choice and sufficient supply instead of directingyourself as merely an ant in the scheme of things. Because it’s all your private dream, the world is as you are.The super-all-you says, “Now I become…,” and your portrait painting instantly materializes out of you bysupernatural magic – without human hands – the way I do everything.

M: My aunt is very religious. when I was a kid and got into trouble, she said that I needed to give it to God. Howdoes that relate to what you’re saying?

J: She took into consideration complete authorship integrity, but didn’t go all the way with it. She made it a biggerperson than her and held herself separate as an isolated recipient of someone else’s will. For instance, she wouldhave to consider, “But what if it’s not God’s will for me to make a magical painting out of thin air?” Separatingyourself from God can be helpful, and is certainly better than acting as if there is no God, but now is the time toconsider going all the way and claim yourself and your will as your universal person state.

M: When I say ONE all-person, I think of the word God. ONE all-person means his body is the all of the universe,right? He knows sees and does everything everywhere forever, right? You just proved I’m ONE all-person, sowhere is my body, my eyes, and my mind that knows everything all at once? I see how I own this big thing, but it’snot my experience. I only see twenty feet to that wall.

J: The thing is, that my ONE all-person body is all-pervasive. Whatever is all-pervasive is invisible. Here is why:Here are three jars. One is empty, one is half full, and the last is full of water. The empty one looks just like the fullone. You can’t tell the difference because the fullness in the jar is all-pervasive. Only a partially full jar can beperceived as "less than". 12 It’s my all-pervasive nature that makes me so well hidden. Something completely all-pervasive is transparent because it permeates everything so completely. This is why I said that your perception isn't a valid basis for conclusion.

M: Then what is really true?

J: The truth is that which does not change. The field of

your perception is constant change. I’m going to have you act on truths: the non-change attributes about me that you yourself mentioned earlier.

M: But ONE all-person is a high vibration change, and you

just said that all change is not true. So you’re saying that ONE-all person is not true?

J: That’s correct. Only my universal line virtual state does not change. We will be dealing with truths that aremore completely true than others. Remember that we are here talking in order for you to paint portraits in amanner that is more far-reaching than you could have ever imagined. We are going to put these various levels oftruth in their proper order and proper perspective, so that you always have a foot-hold on the most complete truthwhile dealing with lesser complete truths. Dealing with lesser complete truths is what I as ONE all-person alwayshave done and always will do in my universe, but I never forget who the dealer is: universal line.

M: Well, if it’s good enough for you as ONE all-person, then it’s good enough for me. (smile)

Let’s look as some of

these various levels of truth, or what we could call a hierarchy of wave aspects. I said that higher vibration is always the authorship of lower.

In this diagram, I show

a hierarchy of waves. My wave aspect includes the following: 1) forms of physical matter, 2) a thought vibration, 3) intellect – the vibration which moves thoughts about like figures on a chess board obeying a hand, and finally 4) identity sense or “me-ness” – the vibration which underlies the intellect.

To help understand intellect, when you’re playing chess, youdecide your move. Then you reach out your hand to make the physical matter of the figure move about.

Intellect cannot exist with out the underlying aspect of “me-ness” supporting it.“Me-ness” cannot exist without the presence of universal line to bend.In your private dream, physical matter cannot exist without the underlying aspect of thought to give it shape.That’s why we have to call my physical world merely a dream. Everything is my intention. Intention is the mind 13activity or mental image, which is the starting point. Mental starting point means not made real yet. Mental activitynot made real yet is referred to as imagination or dream. When you know this, you’re inspired to change thatdream and you’re not intimidated by something seemingly fixed. If you need a bigger canvas to paint on, insteadof going to the art store, you’’ll simply change your mind and change your dream. Then there it is in front of you.

Without line, without my common medium at the most basic level, the highest level, just beyond the highestvibration, everything else below would fall apart. Line has to always be there and it doesn’t stop being a line ofpure intelligence just because it seems to bend.

When you go to that place within yourself that calls yourself just a little limited Mac, you forgetfully use myauthorship integrity to isolate yourself in a little box. Your world then takes shape – or maintains the shape whichyou originally put in motion. “It’s just the way things are,” you say. It’s then that you only see twenty feet to the walland not more. This brings us to my third law:

My Third Law Of Universal Line

In my completeness, I as ONE all-pervasive person have no place to expand, so through reduced perception, I pretend to stop being myself and conclude- experience myself as isolated recipients of variations.

My emerging localized realm-being.

M: I have to ask, how come I as ONE all-person forgetfully isolate myself in a little box.

J: Think about the big picture. If I’m complete everything

everywhere all at once, where do I go to become something? I’m already anywhere I’d want to move to. My only option is to pretend I’m less than I am, so that I’m not everywhere all at once. Then there’s my opportunity to move from lesser to greater. In my complete, already there field, like the water bowl, all I have to do is cancel out some waves of perception which “me-ness” acts upon. Remember when I rocked that bowl of water back and forth and you saw how waves cancelled out other waves? That’s how I cancel out areas of perception so that I only see so much of myself to conclude about, and pretending, I say, “I’m not there yet.” Then the hide-and-seek adventure begins. This can only be pulled off because my nature is all-pervasively transparent. With shut-down perception, I can come to all kinds of conclusions about who I am and what I can or can’t do. I say that Ican’t create a finished painting out of thin air. I say that I am only a little insignificant Mac. 14 In this illustration, I shut down my perception so that I as an individual will conclude that he’s only an ant in the scheme of things. Here I use the symbol of a horse head with blinders to represent my individual.

Here is an illustration of what exactly happens, which is easy to

confirm from your own experience. I open my eyes as a newborn in a realm of narrow vibration bandwidthto find only so much: a little box of life.I then act on what I know based on that absence of the big picture. “Who am I? Why am I here? What’s all this? How do I survive in the midst of it all?” As I progress on a journey and get older, I respond to those questions by seeking validation from the experiences that have shaped my world so far. By “validation,” I mean justifiable, relevant and meaningful: “Because I went to art school… Because I‘m not as talented as other artists… Because I was held back as a child… Because I don’t have enough room for a real art studio… Because I could never draw very well... Because I only have a hundred dollars to spend on art supplies…Because I’m not known well enough for a gallery…” and so on.

In this way of thinking, if I want to mold my universe to create a portrait painting, rather than molding unconditionally from universal line, I wait for validation or a prerequisite situation which signals me to go ahead. Until I get my realm’s validation, or what’s required, I repeat, “I can’t, unless… “I’ll call this adventure my expansion opportunity, since I didn’t have that opportunity when I was everywhere andeverything all at once. I’ll give this state a name and call me an emerging localized realm-being. Emergingbecause as I move in my world, one thing leads to another to learn and experience more and more. Localizedbecause of only so much form and influence. Realm because my location is confined to a definite time-space.

M: Alright, this is all starting to make sense, not to mention that what you described is my experience.

J: I told you I would get back to the detail

of what your ONE all-person form is like. Remember this image from earlier. At deeper levels of the ocean, vibration is finer, higher, more still. ONE all-person is the highest rate of vibration. It’s so high, that for all practical purposes, it’s solid like line.

There is a word that will be useful: spirit.

You’ve heard the words, Spirit of Christmas. It suggests a presence behind the scenes organizing everything. In Charles Dickens’ Christmas Carol, illustrations and movie characters attempted to show what he looked like. YourONE body has a high-vibration eye that we could call a spirit eye. You have a spirit hand that moves things. You 15have a spirit voice that speaks in everything. It’s made out of this high-vibration material which permeates allslower vibrations. I’ll loosely use a word that you’ve heard: Holy Spirit. Holy comes from the old English halig,which means whole, singular, universal. It’s a presence which is the final localized organizer. I say looselybecause often people will want to define it in a little religious box which is not my purpose here. Spirit comes fromthe Latin spirare “breathe.” It’s an apt word because it suggests an almost intangible flow that is life-supporting.To give you an example of how something can be more abstract, when you say a person has a fiery personality,obviously there are no physical flames there. Fire can have a more abstract presence. Your ONE all-person eyesare not physical. They function more abstractly. Being more abstract, they can instantly see anything, anywhere,any time. Vision which is not bound by time-space, ranges into abstraction. Your voice and hands functionsimilarly.

M: I’ve heard of the still small voice within. Is that what you’re saying?

J: That could very well be. Still is the quality of very high vibration. So is within.Let’s get back to the big picture. Okay, I shut myself down to only see so much. Now what?

I put myself on a path or line of expansion to go somewhere. If you think about it, there is only ONE place I can go if I keep discovering. I eventually bump up against and acknowledge the full me. Here is a diagram. The fully open eye means that I again see with my spirit eye and know myself as ONE universal line.

M: What body form do I have when I’m say, half way there? In what manner do I paint a portrait half way there?

J: That depends on choices you make in your dream. You may remain in human form and perform vast ranges ofthe universe. Yes, that’s possible. You can dream any possibility. You may ascend from your human form and takea deity form. A deity form means you have an unbound expanse spirit body thatfills vast realms. You may choose to oversee and organize lesserbeings who paint portraits. You inspire and guide them. By theway, the root meaning of the word heaven is an unboundexpanse.Here are more images throughout history which helped conveythis idea. In academic painting of earlier centuries, people

accepted the idea of Celestial Hosts. Such

images were common place. Museumsand art academies would have paintings or sculptures of me in those forms to identify the hierarchy of authorship 16in the universe. Architecture, art, and music of that time was characterized by order, symmetry, formal design, grandiosity, andelaborate ornamentation. It came out of the ideology that the universe had a beneficent hierarchical orderpermeating the material world that was worthy of adoration and exaltation. Architecture’s Greco-Roman rootsused these elements to house temples dedicated to the Gods. It’s intricate craftsmanship, marked by repetitionand precision, was a reminder of hierarchical order. Later these elements came to house political institutions and even commercial trade. Grand styles were taken upin America by the 19th century Robber Barons of the Gilded Age. For them it was another way to expressboundless optimism, but it ended up mostly displaying conspicuous consumption. That cast a shadow over formsof hierarchical integrity. Today it represents commercial, political, and ideological oppression to most people.People will rediscover that deity is their own inner nature and not some external system of determinism that treatsthem like pawns. They’ll again celebrate the perfect order and excellence of their inner nature with grand orderlymaterial monuments. My pendulum swings both ways according to the collective needs of peoples’ lines ofexpansion. It will return bigger and better.

M: These deities are what you meant by localized over-organizers that hold lesser entities as separate in theirown ways?

J: Yes. When I’m an overseeing lesser being than ONE all-person, I could be defined as residing in a godkingdom. I’ve been called Spirits, Angels, Celestial Beings, Archetypes, Gods, Devas, Deities, Providence, andlaws of nature. Your question touches on the hierarchy of beings in my universe. In today’s technological culture,most people are only comfortable associating these images with obsolete mythology and foolish superstition.

Here, Peter Paul Rubens and his studio of

apprentices painted me.

In Vedic literature my universal line is

called Brahman. Ancient practices such as Transcendental Meditation, speak of bringing you to Brahman. Both Brahman and One all-person are embodied as Lord Krishna. Be careful not to over-emphasize my cultural flavors unique to the time.

M: But deity is still my private dream imagination, right?

J: Like everything else. They are the part of you unseen. There are many details I could get into about the hierarchy of beings in the universe, but our priority here is to get you to paint a portrait beyond your wildest dreams. You can always email me later with any of those questions.

M: Can you just tell me how I paint when I’m all the way there?

J: You paint as the supreme almighty being at the very highest vibration. The only difference between now and then is acting on perception’s conclusion since younever stop being me.

M: Okay, say I get there and I’m sitting on the throne as the supreme almighty being. How about all the otherbeings in the universe? They’re on a line of expansion to get there too, right?

J: When your next being in line is ready to replace you as supreme almighty, you merge into my flat non-waveagain to come up everywhere as everything. The cycle of supreme almighty back into universal line and then outas emerging waves again into supreme almighty is my biggest wave. I experience that my supreme almighty stateis an illusion – not real. Only that which doesn’t change is real. Only my flat non-wave no-thing universal line isreal. While I merge into that state, I’m again alone to know that I’m not really going anywhere, nor am I losing 17anything by again coming up out of no-thing into expanding realm-beings. To me, nothing has changed. Keep inmind too that when my high vibration is approached, all individual dreams merge as my singular dream.

Here we’re talking eons of time and expanses of abstract space that are beyond your imagination. Because theuniverse is eternal, there is plenty of time for everyone to do everything. They do.

M: Whoa, you’re really getting “out there.” Getting back to my feet on planet earth, in my private dream I have lotsof days where things go wrong. I’m not inspired to paint, my colors don’t come out right, I mess up my drawing,get distracted, and so on. It’s not like I sat down and said, “Okay, now in my private dream I’m going to have an offday.” How and why do those things happen?

J: While I answer this question, I’m going to make clear the

hierarchy of truths and maintain them in their proper order. More incomplete truths will be below my most complete truth. There are layers of truths. In this way, everything is true. Here is a pyramid to symbolize them. At the top is an eye symbolizing seeing all. I’ll answer what happened from the top down:

1. Nothing happened, there is only flat-line no-thing. Everything

else is simply an illusion of perception and not true. 2. Everything that happens is in your best interest as my perfect always-already plan. If you could see all the details of the universe, you would do exactly the same thing. All alone, I only do what I love to do. 3. Right now, all alone, no one else besides you, you’re simply telling yourself how your universe works and believing your own story: “It happens that I have off days.” Whatever you call youruniverse, that it becomes.4. You did something to violate my laws, my rules of procedure that are in place to guide you on your line ofexpansion. You received the consequences of your violation. This was organized by my host overseer supportsystem – celestial beings in heaven – who execute all my rules and maintain the path of your evolution to makesure that in your adventure, you finally return to me.5. You’re learning life’s lessons the hard way.6. You just had an off day: shit happens. (smile) 7. The world is chaos, everything is ultimately against you, and you’re doomed to failure in the end. Fight it thebest you can and sometimes you’ll get temporary wins that make life more worth living.

Let me tell you of a conversation between characters to help you understand how all seven are true.

Farmer Sod: I know the earth is flat. We cut a path through those hills starting from side to side, and the road is as flat as a ruler. When it rained, the water just sat there and didn’t flow off end to end. I know with every fiber of my being that the earth is flat.

Dr. Hardball, geologist: Yes, Farmer Sod, what you say is true, but there’s a more complete truth that’s beyond your perception. The earth is a sphere of minerals held together by gravitational force. You just need to know what to look for so that you can confirm it for yourself. Let me show you how to track the movement of the stars, and then, with a telescope, watch ships proceed toward you on the horizon.

John Paolucci: Dr. Hardball, the earth isn’t just a sphere of minerals held together by gravitational force. There’s a more complete truth beyond your present perception. The earth is at the center of the universe within you. The root meaning of the word earth is ‘outer condition.’ You’re sole commander of a metaphysical dream called the universe, and the earth is an outer condition of your indivisible universal mind. Let me show you what to look 18for so that you can confirm this for yourself – how everything has ONE-thing in common, and that you are thatthing – how that thing is more than time-space, so that all of it fills the container you call you. – how your totalitymakes you One all-person in charge of everything.

Reverend Bibleybelt: So you think you’re God, huh? Reverend Bibleybelt takes John by the arm and points to atree in the distance. “Look at that tree over there. Did you create that tree?” (He expects a “no.”)John Paolucci: Yes, not only did I create that tree, but I created a fabric of identity for myself to forget the details ofhow I did create it. I created reduced perception so that it would be easy for me to conclude that I didn’t. Nowthere’s a place for me to expand into more perception, until perception confirms that I’m sitting on the throne asthe Supreme Almighty who makes everything, including trees and you.

J: Here’s another example:

H2O, which stands for two hydrogen molecules and one oxygen molecule, come in the forms of vapor, water, andice. H2O always remains H2O, even though its nature is to transform from and into these various states. H2O isthe greater or more essential truth of water, and there’s no contradiction between the two. Normally, when youspeak of water, you don’t say it’s hydrogen-oxygen. That’s because in the context of localized interaction, there’spractical utility in making the distinction of the lesser truth as they’re called in any of the forms, solid, liquid, or gas.If there’s ice on my windshield, I’d prefer that someone tell me it’s ice, instead of telling me it’s H2O. Then I’d knowto use an ice scraper. There’s practical utility in making the distinction between greater and lesser truths.

Right now in my universe, your place is to remember that you are me and to act on that by painting a veryadvanced portrait painting by expressing directly from universal line. Another time I merely may have told you thatshit happens and to just bite the bullet. Both are simply different spots on your line of expansion as an emerginglocalized realm-being.

M: Got it. Let’s do it!

My Fourth Law Of Universal Line

As isolated recipients, I seek events to know who I am, what will happen, and what I can do. With that, I use my ONE all-mind to seemingly prove whatever I find. The adventure begins. 19Earlier you asked, “What good does it do me to know that I’m ONE all-person if I’m still little limited Mac?”The answer is that you use all-of-yourself as ONE all-person only to prove what you perceive: you’re only littlelimited Mac. Only Mac can hold himself in a little box. In the above illustration is an overlay on the dreamer image.It’s a portrait painter painting a miniature. There he’s focused on a little tiny area scratching away with his brushand ignoring the bigger picture of life.

M: What am I scraping at, all alone?

J: That’s the question I want you to ask yourself when you call yourself little limited Mac and then act on itinstead of acknowledging your ONE all-person status.

Creatures who have limited perception are quite predictable. An insightful

experiment was performed on a type of fish called a pike. The fish was placed in an aquarium which had a glass divider that separated the pike from a dozen minnows, which were on the other side of the aquarium. Minnows are the pike’s favorite tiny meal. The pike didn’t see the glass when he repeatedly tried for the minnows. Each time he tried, he slammed into the invisible barrier. Finally, after a few days of failure, the pike quit trying. The protective glassdivider was removed so that the minnows were then unprotected. Predictable? The pike didn't try to eat theminnows even when they swam right up to his nose.People won’t be bothered by someone who tells them that they’re sole commander of the universe, even whenthe truth is right under their noses. Everyone seems to know how life works on this planet.Assisting further with this cover-up, beings who know they’re sole commander are self-sufficient; they see the bigpicture and thus tend to keep to themselves.Am I not clever? Give yourself a pat on the back for this clever and monumental hide-and-seek game that youplay on yourself and your world.

M: Are there many artists on this planet who can paint magically as ONE all-person? I’ve never heard of any.

J: This is what I mean. You look to your world and the people in it to confirm whether or not it can be done –whether it’s true or not. If you look in that direction, you’re likely to confirm only what you already know about life.Conditions always follow what you know. You need to look at the metaphysical fact of me as ONE all-person, acton that knowledge, and then you’ll know and live it regardless of any perception, event, or experience. Here I’msteering your attention in the proper direction.

M: Do you have some type of illustration that shows the mechanics of how I prove what I know?

J: I’ll call it THE PROOF LOOP. Below is the illustration. In #1 I conclude who I am based on localized perception.In #2 there I am holding the microphone speaking – ONE-all-person whether I know it or not, as a localized realm-being. I intend to paint a portrait. In #3 I perceive what’s available in my world to gauge my success – both myinner faculties and outer conditions. The brain image symbolized how smart or skilled I am. There are my artsupplies to work with. I’m the guy scratching at my miniatures. In #4 my conclusion is taken as a command. Lookat the vacuum cleaner nozzle going to the hinge. I put it there because conclusion as command is takenautomatically by virtue of my sole-commander status. It involuntarily sucks up my conclusion and takes it as acommand. This pulls down or conditions my command as you can see in the hinge and the arrow turning red.Without that conditioning, my intention to paint a portrait would go straight through and be instantly materialized.In #5 the command is processed as my ONE all-person dream: the ocean waves itself. Then in #6 localizedresults in my dream world prove what perception told me: there’s no such thing as a magical painting. So there, Iused my full power as ONE all-person – my ONE all-mind – to prove that “I cannot.” Then back I go to #1 andfurther confirm who I am based on localized perception. This holds me in a little box of life.

Later we’ll see that #3 boils down to your core beliefs about how the universe works or how personaltransformation works. If the ocean refers to wave (core belief or dream story), your pure intelligence no-thing stateis the last thing you're left just prior to processing how your portrait painting materializes. This is not just a highabstract philosophical statement, it’s a hands-on function to take hold of which determines your physical painting. 20

M: I have to give myself a pat on the back for this clever and monumental hide-and-seek game that I play onmyself and my world. It’s air-tight. You say, “the adventure begins.” Is the adventure over when I get wise to the game?

J: No. Then the real adventure begins. The really great painting begins. Let’s look at the Fifth Law:

My Fifth Law Of Universal Line

A time comes to discover my hide-and-seek game and re-establish my identity. Even without the perception of ONE all-person, I use my ONE-thing state to actas if I were not missing. I go ahead to command my universe from my ONE-thingstate. Perception, experience, and events then flow fondly. Eventually I know and do everything again.

Knowing and remedial procedures. 21

Here is the illustration of my biggest wave. From flat non-wave nothing, I divide myself into many beings. The firstmajor landmark on your journey is what I’ll call Fond-Flow-Effulgence. The word effulgence means plentifulfullness on the move. This is where I know who I am so sufficiently that I dream a private dream as ONE all-person. FFE is defined as flowing from one fulfillment to the next with no gap, loss, lack, or restriction. Icompletely enjoy painting a portrait, and when I’m ready for the next better portrait, I immediately go on to my nextdream. Anything I want is materialized instantly, spontaneously taking imagination to reality. FFE is fully managingmy life with both line and wave, or acting as a cosmically aware realm-being. I live expanding dreams that areunimaginable in scale.

A fond-flow-effulgent creation of a portrait painting can take many forms.

1. You know exactly how to paint so that everything goes smooth and effortless.2. You get ideas or have visions of how the portrait could look beyond your wildest expectations, and then find that you have the skill to easily paint it.3. You always see the finished painting in front of you and you just fill in the colors for others to be able to see.4. You feel like your hand is being guided while you paint, so that painting happens spontaneously and magically.5. The finished painting physically instantly-permanently materializes out of thin air in front of you as if by an invisible magic hand. The painting is produced without human hands.

Remember that you own my silent virtual state and are using it to prove that you aren’t ONE all-person as shownis the proof-loop illustration.You’re going to deliberately use my silent virtual state to command my universe from my universal line virtualstate. From there you’ll magically produce your finished portrait painting.

Now is the time to put what you know to work. Let’s go ahead and command your universe for a completelymagical portrait – painted without human hands.

To do this you pay no attention to the way things are in your realm. You’re treating your intention truly as a dream.There are no rules, because you’re the rule-maker all alone within yourself. There’s no one to wait on forapproval. To decide what kind of portrait to paint, simply ask yourself, “What kind of portrait would I paint if I wasall alone, there was no one in the universe besides me, and all was my private dream?” Paint that one.

M: I guess I really have no reason to paint if there are no rules or conditions except my imagination.

J: I as ONE all-person have no reason to have to do anything. I act for no reason at all except to enjoy who Iam. Reasons for things happening (the nature or system of the universe) reside in the field of wave. There are no 22such attributes in my attribute-less universal line state from where you will paint. You’re going to go for your dreampainting for absolutely no reason at all except to enjoy that you’re sole commander of the universe. That’s how I do everything.

As any painting vibrates, it comes up out of my

universal flat non-wave state, exists, and then dissolves back into nothing faster than you can see. It’s gone! That means that its high vibration is making it constantly appear and disappear right now out of thin air as if by magic.

You may consider a tube of paint’s source as a series

of industrial steps, marketing steps, and transportation to your studio, but a more essential truth is that they magically come directly from your quiet flat-non-wave state – the same place your thought waves about them are coming from. In other words, you have a real magic show going on in front of you all the time. And according to how much of the universe fills you – all of it – you’re the magician. Is that enough real magic for you? Doesn’t that make you more comfortable for deliberately painting a 100% magical portrait?

M: Let’s say that Mac wants to make a painting of a

person so beautiful that it would blow him away. Right here and now Mac doesn’t know the details of what that person looks like. All he knows is that he wants it to be stunningly beautiful. If that magic is possible, then someone who knows more than Mac is necessary to make that painting. If Mac doesn’t know,then who knows?

J: I know, see, and do everything everywhere forever as the part of you unseen. I know what that beautifulportrait looks like before you even get the idea to paint it because I gave you the idea. Remember that there isonly ONE voice no matter how many individuals there seem to be. It’s my voice who both wondered and said it’spossible. Go ahead and say it: “I know what that beautiful portrait looks like.”

M: “I know what that beautiful portrait looks like.”

J: You just informed yourself, that you, all alone, could do that painting that your seeming person who callshimself Mac couldn’t do.

M: Could, but how do I know I actually will?

J: Because you are the only one who can decide you can. There is no one else, so you simply claim your statusand go ahead. Knowing that you’re all alone in your dream, you would never ask, “But how do I know I actuallywill?” Doing so is acting like a thirsty fish in the sea. Below is an illustration.

J: What if you dream that Mac, as ONE all-person, knows what the portrait looks like and that he does it now?Does it make any difference what you dream? Is it any different from dreaming that a toothpick appears in yourhand? Both don’t depend on any kind of real world do they?

M: You’ve got me there. Okay.

J: There’s no absence represented by universal line. If an attribute of absence is staring you in the face, like youjust spoke of, you’re looking to wave, not the universal line of that wave. 23

Let’ say as an analogy, that what produces a magical painting is

a chemical reaction of your skin to salt water. There you are in the ocean (line never stops being line so you’re it). You can move around (make waves or respond to waves) all you like but it makes no difference because the source of your return is the water’s contact with your skin – not any movement (wave). So what do you do? Simply know you are in that silent ocean to magically materialize your portrait painting.

Mind, intention, purpose, and appropriateness are revealed as

soon as wave bends because their experience is also a wave.My universal line state is perfect choice and sufficient supply without any attributes – in a virtual way. You cansearch for attributes in order to validate what you can do but you won’t find them in ONE-thing (the ocean)because it’s both the experiencer and experience rolled into ONE without distinction.I told you that your universal line virtual state is the most abstract, most mind-bending thing you could ever knowof. Now as you put it to work, you’re seeing what I mean. You’re getting familiar with the fact that your authorshipintegrity has nothing to do with any attribute. You simply are that. So if you want it, there’s nothing to do but toknow you are that and go on to express it.

24 Here is the proof-loop diagram where you now have all the living proof you could want that paining a portrait magically out of thin air is naive nonsense. Any ideas for what you should do here to free yourself from that?

M: I need to somehow break the loop.

J: Like this illustration? The realm-being boundaries are

cut so that you give yourself a clear shot to your universal line authorship. All arrows are “go” green.

M: Okay, but I’m not sure exactly what I do – how I start

to paint this portrait magically.

J: You mean that you feel the need for something more than you have now before you can do it.

M: Yes, I just feel like I reside in some sort of thick

systemic climate that says such a thing is unlikely.

J: In your private dream, you can dream either of four ways just as easily: First, when you dream your painting, it just shows up magically.

Second, when you dream that you need to know the physical process of painting, you watch yourself investigate and work at it.

Third, when you dream to command from universal line, you’re there.

Fourth, when you dream that you need to better know the process of commanding your universe for the painting, you watch yourself investigate and work at command.Therefore, it all comes down to your who identity. Let’s again look at who. Below is an illustration of you sitting onyour throne as ONE all-person. I used beams of light emanating from you because your dream illuminateseverything like a source of light. 25

Here are some reasons you may hear, while merely dreaming, for why you need something more, and then awise response:

1. I need to become more familiar with my universal line / ONE all-person state. No, I don’t need that – Here I am,fully in charge, complete.

2. I need to eliminate obstacles that are blocking my magical portrait painting. No, I don’t need that – Here I am,fully in charge, complete.

3. I need to take some outer steps or take procedural responsibility to do the portrait painting – maybe getting acanvas first. No, I don’t need that – Here I am, fully in charge, complete. 26 4. A feeling is tugging at me telling me I need to do more – I’m not sure what, so I can’t rest in simplicity. No, I don’t need that and don’t attend to it – I’m fully here now, as ONE all-person and as universal line. THIS IS IT.

Go ahead and speak the words, “Here I am, all alone and fully in charge: my private dream. No experience, no perception, no excuse. I now become my portrait painting instantly materialized in full.” Why did I use the words no excuse? Just because you agreed to forget that you made the rules of how the universe works, doesn’t mean you have a good excuse to unquestionably obey a constrained systemic climate.

M: Here I am, all alone and fully in charge: my private dream.

No experience, no perception, no excuse. I now become my portrait painting instantly materialized in full. (pause) Wow, I just felt a ton of excuses fall off by just favoring who. Now I see what you mean by not trying to remove obstacles or exerting myself in any way.

J: Now what I’ll have you do is close your eyes for two minutes. I’ll tell you when the time is up. During the time, have your intention to instantly materialize your portrait painting as you just did, but this time think it quietly inside. Next, for about fifteen seconds, I want you to

look to your transparent all-

pervasive universal line statebecause that’s where yourreturn is coming from, not fromyour ONE all-person state. Afterfifteen seconds with universalline, again repeat the processstarting with your intention.Remember, universal line is notan experience, so you’re notlooking to experience anything.It’s simply the looking to ofknowing something thatpermeates everything in yourmidst. You’ll have enough timein this two minutes for maybesix processes of intension intouniversal line. (two minutespass)

M: I heard the excuses over

and over each time I did myintention, but then the excusedissolved each time throughacknowledgment of who I amand what I’m doing as ONE all-person. At that point I looked touniversal line for fifteenseconds. I heard, “Well, thisexcuse thing keeps happening each time, and the painting isn’t here, so it’s going to take time and practice to get 27this right.” Next I thought, “Hey, wait, I don’t need that thought wave either.” I remembered the vacuum nozzle andhow that thought was taken to be processed – not a smart move. I was then left with the simplicity of just going touniversal line. That final little joke I played on myself almost made me laugh.

J: Good. You did everything correctly. All you do is take care of correct action, and the painting results take careof themselves by law. You don’t need to look for results. Above is a target illustration of how you handled yourpriorities correctly.

M: It was so simple that it seems too good to be true. I want to do more of that.

J: That’s because who you are is that simple and you went home. The return of commanding your magicalportrait painting has only to do with universal line; the bender of wave. You could go to systemic wave by seeking,to repair your limitations, and to adjust and evaluate how you’re doing. To do that would be to act like a thirsty fishin the sea because you’re always-already using universal line 100%. Before, you commanded your universe andwaived yourself as, “How the universe works is something going wrong like this – happening to a guy like me.”Even saying, “See how I need to better know that I’m universal line?” is not the complete truth because youalways-already are that. You could also say. “But I lose myself as a localized realm-being so I have to get used toacting as ONE all-person again, don’t I? Then maybe there’s more that needs to change than I can see – aboutme – before I can command my universe from universal line. There maybe more and more to learn and that couldgo on for a long time. Trying this is not realistic to meet the normaldemands of practical daily life.” Whatever you conclude is yousimply telling yourself a story of how your universe works and thenbelieving it – how it waves. You’ve then used my completeauthorship integrity to prove it. See how easy it is to get hung up onwave? How do you justify hanging yourself on wave when you arethe ocean?

M: Yes, I see what you mean – it just doesn’t make sense to hangon wave.

J: Remember the hierarchy of truths. First,

your Farmer Sod will tell you that a magical painting isn’t possible – that you’re wasting your time. He may also act confused and discouraged. Next, your Dr. Hardball will say that yes it’s possible but that you will need more processes of arriving and that it could be a long complicated journey.

J: If you can’t seem to know, can’t seem to act different, no results happen, that is the field of systemic wave,which again has nothing to do with where your magical painting is coming from. So what do you do? You don’t doanything about it and continue to look to the only thing that has to do with the return and which is the simplestmost comfortable thing you could do.

M: And if I can’t seem to stop going Sod and Hardball – if it seems to go by itself – if my mind is spinning out ofcontrol like Daffy Duck?

J: With that question, Daffy Duck is happening right now. (smile) Remember that there is practical utility in dealingwith lesser truths. It could happen that you find yourself overshadowed to the point that despite your bestintentions, you’re stuck or out of control. To fully accommodate your emerging realm-being experience, I’ll giveyou what we’ll call a remedial procedure. It’s very behavior-based. The answer is to simply remain however you find yourself – spinning out of control – as a realm-being – to clearup your mess. No skill required. Watch this more inclusive intention taken by the vacuum nozzle as shown in thisproof loop illustration to the left, so that you know you’re doing all you need to. “All you need to do” is illustrated bythe thumbs up hand in the diagram below. This also applies to bodily discomfort that may challenge you. You cancall this remedy command active inclusion. Whatever happens, you give it your thumbs up for the magicalpainting to be completed in full. 28 Inclusion is easy. While out of control, trying to release the spin for a clear shot could be very demanding if not impossible. A spin may not be the only problem. Another time you mind may feel like wet cardboard. Again, you give it your thumbs up for the magical painting to be completed in full.

The return of commanding your universe may only

at first be more clarity in using universal line. You may get clarity that your active inclusion is a smart move and then you have even more conviction to leave conclusion wave alone. The best return is a deeper realization of yourself as universal line. This is a very valuable return. It will pay big and change everything.

Let’s summarize the procedure I had you do for two minutes. It will be your final procedure that I’ll have you do forat least ten minutes, at least twice a day.

In your session, you’re staying with the simplest thing you could ever know and acknowledging the biggest fact of who you are. You’ve decided that all you need to magically materialize your portrait painting is be ONE thing; to simply be universal line. In this illustration, you’re waving your hand blindly over all attributes, even ONE all-person. All you acknowledge is the ONE thing that you are. You could speak, “Simply being universal line, I now become my painting instantly materialized in full,” or just hold the intention briefly. Of course you hear Mac’s voice and see how you use his will to speak, and maybe even remember how your ONE all-person state spoke. However, you have the option to forget about all those and acknowledge just ONE thing. That’s the final truth, the final reality, so enjoy that elegant simplicity. It’s intending with or speaking “ONE thing.” This is the most refined procedure.Try it now for two minutes. (two minutes pass)

M: Boy, did I hear excuses for needing to do more. I had no

command content of attention and no relating to any personage, so there was no control and nothing there to beprocessed. I heard the excuse that I was in a void just wasting my time instead of taking care of my portraitpainting.

J: Exactly. Yet pure intelligence was there in your midst, the same pure intelligence that upholds personage andcontrol. It’s what upheld you knowing you’re in control whenever control happened. It also structured the wavethat concluded your waste of time. Right in the midst of anything moving, noising, or attributing, there it is. Line,the bender of wave, is your still silent virtual state. It’s your biggest who. 29

Above is an illustration of it. Any vibration that comes during your session telling you that you need more for yourpainting is irrelevant because you’re simply being universal line for your return. That’s why you can say, “No, Idon’t need that,” to any attribute, event, or condition which presents itself during your session.

If you like, perform a session as ONE all-person. Its illustration on Page 25 has a few differences from the oneabove. See how performing a session as universal line is bottoming-out at the final reality of who you are. Chooseeither one and go with your favorite. If you enjoy being more personal, that’s who you are too. 30

Even from the point of view of wave, simply being universal line make sense. In this illustration, look how simply being ONE thing for your magical painting is sucked up by the vacuum nozzle automatically. It makes no difference what the content is to the vacuum. Now you’re doing ONE thing and no-thing to accomplish your painting instantly materialized in full. Try it again for two minutes. (two minutes pass)

M: That was nice. I enjoyed having no responsibility for all the

complexities you’ve told me and instead just be ONE thing. Instead of concern over my spinning mind and what it might do to my dream, I went back to being ONE thing instead. I recalled the vacuum image and saw that I did all that was required of me for a successful command. I felt “off the hook” for both trying to realize universal line and materializing the portrait painting.

J: The Grandfather of all excuses is, “I haven’t really arrived at the state of universal line and I’m only deludingmyself. I’m still hung up on merely the intellectual thought of it which is still wave.”

J: This procedure will build familiarity and strength in commanding your universe with universal line for creating apainting without human hands.

M: But you told me that I already command perfectly because of who I am. Isn’t doing that a contradiction, oracting like a thirsty fish in the sea?

J: Here we’ll work an incomplete truth that has practical utility. Remember the analogy earlier: I’m telling you thatyour windshield has ice on it instead of telling you it has H20 so that you know to use an ice-scraper. In this wayI’m accommodating your very real emerging realm-being dream experience that you aren’t yet expressing apainting directly from universal line and therefore you need more familiarity. You’ll know when it’s no longer useful.

You’ll sit quietly with closed eyes for ten minutes. You think the words inside yourself, “Simply being universal line,I now become my painting instantly materialized in full.” Next you’ll look to universal line for fifteen seconds like Ihad you do before. Before you do your ten minutes I’ll have you do what is called preparatory resolve. You refreshwhy your words are complete authorship integrity, otherwise you may fall back on your identity as merely an ant inthe scheme of things. Seeing yourself holding the microphone connected to universal line will assist.

M: Why do you have me sit with my eyes closed for a time? Why not just go on knowing and using what youcovered?

J: When you learn scuba diving, first the instructor has you train in a heated pool where it’s most conducive togetting used to equipment and techniques. You don’t want the threat of sharks or hypothermia when you learnyour breathing technique. (smile)You’ll set aside an exclusive time, a session in which you sit quietly, without responsibility for realm events. Thissets up a supportive condition for you to begin establishing clarity and strength in acting as universal line.

M: Why ten minutes?

J: There are two reasons. Ten minutes is a sufficient span of time to allow effective settling into the experience ofleaving realm-being boundaries alone. Next, I’ve chosen a fixed reference of ten. This frees you from evaluatingwhen to stop based on supportive or non-supportive realm-being experiences. Then the leaf isn’t tossed about bythe winds of localized results: "I feel like its time to stop" or "Tomorrow might be a better day to do it."

When the ten minutes are up, that’s it. You’re off the hook of evaluation based on perceived success or failure. Iftime allows, you can add more groups of ten. 31I would recommend that you make ten minute sessions a part of your day. The first activity you do at the start ofyour day influences the rest of your day. I’d recommend that you do it first thing in the morning, and thensometime in the evening – preferably before dinner. Sitting with a full stomach may not be comfortable. Beforebed is also not advisable because it may give you restful alertness, causing you not to need sleep, and thusunable to fall asleep normally.

M: Sitting up or lying down?

J: Favor sitting up. Only lie down if you’re so fatigued that sitting up is uncomfortable. If you dose off, whenawake just pick up where you left off, or do it later. If you doze off, It’s because you need rest to be alert. Alertnessis how you take command of your universe, so don’t resist sleep if you need it.First you find a comfortable spot to sit where you’re unlikely to be interrupted by others. There’s no need to makea big deal out of scheduling time and the perfect location. There are plenty of little ten minute chunks throughoutyour day to grab. If you find an hour, you can do six in a row. Don’t mind if you’re in a noisy environment. Noise isonly a barrier if you treat it so. Noise doesn’t matter to me. I make a noisy universe for a good reason and itdoesn’t keep me from managing it. People may see you with your eyes closed and ask, “What’s wrong? Are youtired?” You can say, “No, I’m just enjoying a peaceful moment” or something like that.To time yourself, have a watch or clock you can glance down at to check. As you get proficient, you’ll know ten-minutes close enough.

Preparatory Resolve

Because you’re new to this information, it’s good to refresh it prior to your session. That means you look over thetext and/or images to refresh what and why you’re doing what you do. It will give you more conviction. Sometimesjust glancing at a few images is like a catalyst that gets you resolved about your session and settled intocommand.

I also recommend that you command at your easel just before you start to paint as you usually do. One minuteshould be enough. I’ll leave it up to you how you want to do your command – eyes open, closed, silent or verbalout loud. Do your preparatory resolve just before. When you go home today, you can do two ten-minute sessions and also an easel session before you see metomorrow. Before you leave I want to give you a sheet called, WHAT HAPPENS DURING YOUR TEN-MINUTE SESSION. (see diagram below)

When you sit to do your silent ten-minute session, this diagram will prepare you for what will happen. It’s whathappen’s automatically until you take conscious control of your dream and make your own rules. Remember thatrules (how the universe works) are in place to guide you on your line of expansion until you accept that you’re thesole rule-maker.With #1, you do your preparatory resolve. You acknowledged WHO is going to speak his command. With #2 youspeak, or have your intention for the magical painting. There you are with the microphone hooked to universalline, “Simply being universal line, I now become my painting instantly materialized in full.”Next, with #3, because this knowledge is new to you, you’ll next likely hear a reaction from the thirsty fish in thesea – some kind of excuse why you can’t or won’t magically paint. It’s symbolized by the man painting a miniatureportrait. Essentially, this is your limited core beliefs about how the universe works or how personal transformationworks. It’s unlikely you'll hold the collective details all at once in memory. As such, it may just be a sick toyour stomach felling that something is wrong, or a pounding in your chest that has no observable meaning. Onthe other extreme, you may hear a clear violent threat about danger. When your understanding of universal line isfamiliar enough, all conflicts vanish. Until then, they will vie for your attention. Because you did your preparatoryresolve, you know how to handle them. You just don’t feed them with your concern because you know they’re notwhere your return comes from. They’ll always include the aspect of, “I need to do more…” You’ll inclusivelyremain with them so that they don’t matter. However, If they’re loud, you may experience spinning out of control –partially or completely wiping out your new self-knowledge – making you feel like a helpless victim. As you recallto look to universal line instead of responding to it or trying to resist it, it will fade and let you proceed. The more 32

you experience it, the better you get at handling wave. (any challenge is there to deepen your familiarity) That is#4; you made a choice to go with universal line instead of your realm-being boundary or hanging on wave. Thedivided sphere is symbolic of ONE thing’s perfect choice and sufficient supply – complete authorship integrity –that you’ve gone with instead.With #5, the next thing you know, your mind wanders to a line of thought or day-dreaming. That could go on for afew seconds or minutes. That happens because you’re used to being merely a recipient of variations.Because you’re sitting there for your painting, eventually another thought will come, “Oh, I’m on a thought andforgot I’m having a session to instantly materialize my portrait painting”: #6 With that you return to your intentionto be universal line for your painting: #7 That could happen many times to various degrees in your ten-minutesession. The more you experience it, the better you get at handling wave. The event deepens your familiarity. Another situation may arise where you also have an automatic line of thought which goes simultaneously withyour choice to remain universal line. Again, since you’ve chosen not to be interested in attributes, you don’t mindif the thoughts are there walking by your side: you easily and innocently favor your choice to remain universal linefor the magical painting. You don’t have to try to remain universal line because you always-already are that.A time may go by where you’re only aware of your choice to remain your ONE-thing state. Another situation couldbe that there are no thoughts, no choice, no mental activity, but just silent alertness – the experiencer left tohimself without an experience. Whatever happens or doesn’t happen, you stay with your ten-minutes.

With #8, a time check confirms that ten-minutes is up. Stop or add another ten. Do preparatory resolve again ifneeded. Once the choice is made, the process goes almost by itself. “Almost” because when you find you’re on athought, you return to your choice, or if thought is simultaneous with choice, you don’t mind what’s going on.

The whole point of this diagram is to get you to properly manage wave. Perception’s’ conclusion is going to proveto you that you have not aligned yourself with universal line and that you’re just wasting your time. But since youare that ocean, you allow, by your side, whatever remains of perception’s conclusion (wave) as you simply go on 33commanding your universe. When perception’s conclusion tells you that simply remaining the ocean for yourreturn is not enough, you as the sole rule-maker, all alone, no one besides you, knows that’s an absurd place togo within yourself. Here is the printout for you to look at at home. I’m also giving you a study sheet (below) that’s a summation forpreparatory resolve. I’ll see you tomorrow. [the next day]

M: The preparatory resolve was helpful. I see that the sheet you gave me about what happens during the ten-minutes was a part of my preparatory resolve. It set me up. I found weak points in my understanding and filledthem in by reviewing the Advanced Painting with Universal Line text. Then I acted on the strength which theinformation gave me by doing the ten-minute session. My session happened exactly as your sheet said it would.

My short command session at the easel gave me a whole new mind-set while painting. Usually while painting, mymind wanders to all kinds of subjects, but this time I more carefully considered WHO is painting. I know I’m goingto gain strength that way too.

J: Something like this could happen: “I’m really busy, distracted, and don’t feel well, so I can’t study or do yourremedial procedures right now.” You can accommodate this practically. The answer is to do outer command active inclusion. There are two different types of command active inclusion;passive and active. Passive is when you simply observe or witness the un-choiceful situation going on around andwithin you. You’re mindfully observing anything that distracts you from getting your painting done. Active is when you’re too busy with daily responsibilities to paint, either to paint conventionally or with universalline. For instance, paying your bills, cleaning your house, managing people, taking care of your health. Go aboutthese things with the intention in the back of your mind that these things are your complete means-whereby tofinish your magical painting – just like you did for your daffy-duck mental state to get you “off the hook.” It breaksthe proof-loop.

M: So if I’m in the dentist’s chair and he’s drilling away, I can include that situation, which is a command of myuniverse, to produce my fully magical portrait painting?

J: Or anything else either distracting you or keeping you busy. Actually you could go out, see a movie and have apizza as your complete means-whereby to produce your fully magical portrait painting. After all, it’s your dream,right? One of my realm-being’s mind was so out of control that the only way he could take responsibility for the quality ofhis command was to lie down and feel the pressure of his bed against his body. He watched the vacuum nozzletake that agreement (feeling the pressure of his bed against his body) as his complete means-whereby to paint amagical portrait. He loved it and it worked perfectly for him. That was passive outer command active inclusion. Todecide when to use command active inclusion, ask yourself, “If I had a choice would I have come, the paintingexperience – perception – event which life just handed me? Your answer might be: “No, if I had a choice, Iwouldn’t have it come.” If it keeps impolitely presenting itself, giving you no way out, give it the thumbs up toproduce your fully magical portrait painting.

M: Fascinating. But you’re telling me all these remedies because I haven’t yet fully realized universal line. Whatdo you suggest I do during my day for better familiarity, clarity, and conviction to use my universal line?

J: First, it’s only information. Don’t treat it like a sacred cow just because it’s so big and intimidating. Study it asyou would study anything else, like studying the manual that came with your car. Look at your priorities. What’syour attention on all day long? Schedule more of that attention for carefully considering line, wave, and the firstfive laws of the universe. You may print out images that inspire you the most. Have them where you can see themoften. Quiz yourself: “Why does wave express who the bender is, and that there is only one bender? Why iseverything ONE thing? Why is the vacuum nozzle sucking up my content of attention?” You should be able toanswer these quickly and confidently. If not, go back into the text and more carefully consider the facts. Askyourself, “All alone, no one else besides me in the universe, all my private dream, what am I doing?” Here is astudy sheet with essential questions. 34 STUDY SHEET Look at these questions while speaking command content of attention to integrate their meaning in action. Then leave them behind for universal line. They can also serve as preparatory resolve.

Why is wave made up of only one line (universal) Two lines would be variations and that would make them parts, not theand not two or more lines? What’s the result? whole. The result is that there’s one bender of wave all alone.

Why is universal line pure intelligence and not Universal line contains everything in a virtual state without form.intelligent. Something intelligent requires form. Pure intelligence is formless and without relative attributes (no reasons, no rules, no boundaries), yet the source of all attributes or variations. That makes it the ultimate abstraction and the final fundamental truth to act on.

When I speak command content of attention, why is Because line is the bender of wave and there is only one line. Ifuniversal line (the whole of the universe) speaking? anything (including me) speaks, it’s all of that line bending itself.

While commanding, what’s the advantage to acting There is no advantage to acting on incomplete truth during command.on less than the final fundamental truth? If the ocean acts like a wave, it’s unlikely to command other waves.

Why am I ONE all-person all alone? Because as indivisible bender of wave, I can never stop being that all even when I’m a person. That makes me an all-person all alone.

Why is universal line neither experience nor Because it’s a unified state without multiple attributes. Attributes areperception? necessary to produce both an experiencer and the experience.

Why is my ONE all-person state not necessarily an Because it’s all-pervasive. Whatever is all-pervasive is transparentexperience or perception? because it permeates everything equally like H20 permeates water. Also because perception is shut down for a place to expand.

Without perception or experience, what am I left I look with knowing or understanding, and soft-pedal perception’swith for looking to universal line? conclusion.

Why am I complete authorship integrity – perfect Just as ONE thing never stops being the whole even when itchoice and sufficient supply – when I speak seemingly localizes itself as variations, I as ONE all-person nevercommand content, instead of merely an stops being the whole when I become seeming individuals. ONE all-incompetent ant in the scheme of things? person means I see, know, and do everything everywhere forever. Missing nothing, I’m perfect choice and sufficient supply.

What happened that perfect choice and sufficient I shut down perception in order to have a place to expand. With that Isupply isn’t an experience? could conclude all kinds of things about who I am and what I can do.

Why is everything my private dream? Formless pure intelligence becomes conscious of itself and vibrates as consciousness; I am; ONE all I am. Continuing that unfolding as a total creative intelligence personage, I vibrate myself as, “Now I become…” That personal intention becoming various vibrations to form a play-stage or seeming separate outer condition is called a private dream. Because I as ONE all-person never stop being myself, even when I become individual beings (me here on this planet), it’s my place to claim and deliberately play my cosmic dream right now here.

Why don’t I need to know the technical details of When I dream a portrait painting, it just shows up.forming a portrait painting, such as taught in art When I dream that I need to know materials and procedure, I watchschool? myself investigate and work at it. Fully conscious dreaming drops all excess baggage outside of fond-flow-effulgence.

Why do I have all the living proof I could want that Because, me ignoring me, and only looking to wave when I speakI’m merely an ant in the scheme of things and command, I find in front of me what I’ve already proven locally (seenpossibly making a big mistake when commanding? only by localized perception) through that ignorance.

Why would I feel discouragement and intimidation Because I’m accustomed to only looking to wave and thus ignoring mysurrounding the performance of command? complete authorship integrity. I find only realm-being boundaries.

Why is my content of attention involuntarily sucked Because I never stop being ONE all-person commanding my universeup to be processed as a return, just like a vacuum as a private dream, even if I ignore it or prove it otherwise with localnozzle? perception. My creation process goes on even if behind the scenes. 35 Why is it completely up to me to know and call my All alone, there’s no one else to decide either way. I take full command content of attention “perfect choice and responsibility to step through my game of hide-and-seek. If I find sufficient supply” regardless of local appearance’s myself shirking responsibility, I simply ask myself, “All alone in my proof and conditioning? private dream, what am I doing in acting timid and negligent?” “What am I doing acting as an isolated recipient of my own system?”

Why does the return of command have only to do Because everything comes from the bending of wave – universal line. with universal line and not wave? Wave is only the result, not the cause. Wave as cause is only an illusion due to seeing/knowing only a small portion of the universe.

What is meant by systemic wave and why is it so All attributes of the universe are wave. There’s a system of waves in convincing? place in order to guide beings on a line of expansion. It seems “Just the way things are.” Every one has two rows of teeth, water freezes at 32 degrees, the only thing we have to do is die and pay taxes, there is no such thing as real magic, and so on. Just try to prove otherwise (without higher knowledge) and see what a fool you make of yourself.

If I obey systemic wave just because it’s there, Merely telling myself a story of how the universe works and then what am I essentially doing as ONE all-person? believing it.

If the systemics of wave is vying for my conviction By sufficiently understanding the first five laws of universal line and while looking to the stillness of universal line, how then acting while soft-peddling normal human perception. In that way do I handle wave? systemics no longer have life, power, authority, and cease to exist.

Why is my mindfulness of seeking, evaluating, and Because my return has only to do with, is only formed by, my still quiet adjusting in the field of wave inappropriate while universal line, not wave. Therefore whatever is going on with wave commanding or looking for the return of command? during command is irrelevant. I’d be acting like a thirsty fish in the sea if I chased after wave in order to be the ocean.

When are remedial procedures appropriate? When despite my best intentions, I can’t seem to understand, I feel out of control, or are overshadowed by environment or bodily conditions.

M: What do you mean by leave them behind for universal line?

J: The questions/answers are the field of wave. They’re meant to point you to staying with the stillness ofuniversal line for your return. They point the way but are not the way themselves. Universal line is the way.

M: Okay. Getting back to painting, you’re suggesting that I should continue conventional artwork and not just waitfor a magical painting?

J: That would be most practical. You’ve got your career’s immediate demands to consider, not to mention thatyou might sacrifice your level of enjoyment and fulfillment that comes from the way you’re presently painting. Letthe return of your command lead the way to magical painting. It will show you when it’s time to pack up yourpaints. You may find that your return comes in degrees, so that you’re experiencing degrees of #1 through #4 onthe list of possible story-lines as they relate to your progress in painting.

There are three options to handling a partial return of your command on your path to mastering this knowledge.First, you stay with mastering this knowledge until the desired return comes through. Second, you stop and usewhatever painting skill you have so far. Third, you do a mixture of both and enjoy yourself along the way. Amixture of both is most practical and what I’ll recommend you do here. However I would understand that in yourzeal to paint magically, you abandon conventional painting and focus entirely on painting with universal line.That’s a very personal choice based on what makes your life most worth living.

A lot more people on this planet are accomplishing things magically than you may think. The question arises,“How come I never heard about it before – why do these people remain hidden?” There are several reasons. Yesit’s true that people with small minds would ridicule them or try to prove them fakes, but that’s not much of anissue because they’re above what people think. They just prefer not to live their lives as a circus act. They alsoavoid being idolized or worshipped because that can weaken other people’s integrity. Like attracts like, so theyprefer to enjoy the company of like-minded individuals. They also understand people’s lines of evolution and see 36the wisdom of what’s going on in the world, whereas the conventional view would otherwise be saddening. Theysee how everything is happening for the most perfect reason because I know exactly what I’m doing and there’sonly me. They’ve no objection to people living their lives without knowledge of me. You won’t find them out inpublic as activists or reformers. They instead quietly express directly from their universal line and are self-sufficient. They work quietly behind the scenes to influence the world just like I do.

It’s meaningful for me to have Advanced Painting with Universal Line met by skepticism or ridicule by most,because skepticism as valid a means of realm-being expansion as any other. People learn how to protectthemselves from misinformation that way, which the world is full of right now. You on the other hand, were ready toconsider something more expansive. You won’t hear me criticize people who reject me. I love to forever expandmyself. That means there needs to be individuals for every kind of spot on a line of expansion from lesser togreater. Everyone has to start somewhere.

Your numbers are growing. It’s only a matter of time before magical painting is common-place.Unlimited expansion also means that there will always be room for uncommon individuals who lead the way forothers. I’ll expect to see ground-breaking paintings from you even amidst your like-minded friends.

M: I’ll be back to share uncommon paintings with you. See you later.

J: I’ll leave you with a final word: You don’t wait for any experience of yourself as ONE all-person in order to goahead and command your universe because you already are that person.

M: (a few months later) I didn’t wait as you requested. Here is my painting done without human hands.

J: Ah, professional excellence!

You have been warned: The information in this document is merely to assist you from falling prey to the clever hoax of metaphysics. If you’re weak and gullible enough to actually believe the information in Advanced Painting with Universal Line, and desire to put it to work, you’re hereby advised to seek psychological counseling from a qualified medical professional. If you heard yourself think the question, “Is John’s info then not true?,” then you’re believing what I’ve said just because I said it, haven’t confirmed universal line for yourself, and don’t have your own conviction. Go back and more carefully consider the info if you’re truly interested in mastering it.